Institute of Ancient Slavic Literature and Ancient Eurasian Civilization - idds. Acambaro figurines Dinosaur figurines found in Mexico

In the house of its owner, this unusual collection occupied 12 rooms. According to the most timid assumptions, the number of exhibits in it was close to 35 thousand. But it was not the large number of objects that made the collection famous, although such completeness cannot but delight collectors. In scientific circles, they are reluctant to talk about Acambaro figurines. But among lovers of “other” history, mysterious figurines are still one of the most discussed ancient monuments. And all because they, like other misplaced artifacts, provide an opportunity to look at the familiar historical panorama with different eyes.

Dinosaur inspired
The Acambaro figurines are named after one of the Mexican cities located in the central part of the country. It was in its vicinity that on an early July morning in 1944, Waldemar Julsrud, an elderly fastener merchant, picked up a small ceramic figurine. The figurine looked like a prehistoric lizard, a dinosaur, just like the one that Julsrud had seen in one of the German magazines before emigrating from Germany.
In his youth, Julsrud was seriously interested in archeology and even participated in archaeological excavations. Either the found figurine, or the memories of his youth, inspired the elderly man so much that he became seriously interested in the find. What kind of beast is in front of him? A children's toy dropped by local boys, or an ancient artifact that has been waiting for its discoverer for millennia? The cracks on the figurine spoke in favor of many years spent in the ground, and Julsrud, who knew Mexican history well, tried to attribute the figurine to one of the cultures known to him. However, the artifact did not fit into any tradition. Then the enthusiastic Julsrud decides to do his own research, which can shed light on the origin of the dinosaur imprinted in clay.
In archeology, a find does not come alone. Julsrud learned this unwritten rule in his youth. Therefore, the first thing the researcher decides to do is conduct excavations in the place where he found the figurine, in the hope of finding other antiquities, and with them, answers to questions that haunt him. Julsrud hires a peasant and pays him one peso for each complete figurine brought to the surface from the depths of the earth. From her friends, Julsrud learns that local residents have long been digging up similar figurines throughout the area and selling them to visitors as souvenirs. The researcher buys up all the souvenir shops.

Another story in Akambara
Thus, not only ceramic, but also stone figurines appeared in Dzhulsrud’s collection. It is obvious that they were all made by hand, because during the entire search, not a single duplicate figurine was found. The smallest figurine did not reach a height of even five centimeters, while the largest was up to the shoulder of its owner.
Countless species of dinosaurs, both well-known and completely unknown to science, long-extinct prehistoric animals and people of all races - it is difficult to imagine what extensive knowledge about biological species the makers of these figurines had. It is also striking that many animals unknown to science at the time the collection was discovered were discovered later. This gave reason to believe that the sculptors of the figurines were, if not contemporaries of prehistoric animals, then certainly knew about their existence much better than us. This means that Dzhulsrud’s collection is tens of thousands of years old!
However, it was never possible to prove this due to one striking circumstance. The fact is that almost 3,000 exhibits depict people and dinosaurs in moments of pursuit and hunting. It seems to be nothing remarkable, if not for the fact that the first homo and giant reptiles are separated by evolutionary standards by at least 62.5 million years! According to official science, dinosaurs died 65 million years ago, while the human race began to form approximately 2.5 million years ago. And the images show that dinosaurs and people not only existed at the same time, but also interacted: man tried to domesticate the lizard, and often became its victim. This plot, which clearly contradicts the accepted evolutionary theory, did a disservice to the entire collection: a whole division of skeptical scientists appeared in scientific circles who declared the Acambaro figurines a fake and a hoax.

First scientific attack
True, this did not happen immediately. For a long time, the scientific world did not seem to notice Dzhulsrud’s discovery, avoiding comments and assessments in every possible way. This is despite the fact that several major American newspapers published stories about the Acámbaro figurines under the headline “Sensation,” and Julsrud himself published three articles in scientific journals.
And now a piercing information boom finally brought scientists out of silence. However, what they began to say was not at all what the owner of the collection wanted to hear.
In 1952, archaeologist Charles di Peso conducted a descriptive analysis of the figurines. The results of the study, conducted by a skeptical scientist, were predictable: the figurines are of modern origin. According to di Peso, the depiction of people's faces, especially their eyes, lips and chins, was atypical for ancient sculptors. It was also suspicious for the researcher that for clay products that had lain in the ground for many years, the figurines were incredibly well preserved. The surface is almost flat, without destruction, as if it had not been influenced by water, air and bacteria. In addition, there were almost no cracks or damage on the figurines, which sometimes appear due to careless removal of antiquities from the soil. Even the absence of some chipped parts of the figures, according to Charles di Peso, is also a hoax - these chips are too unnatural and were clearly made in order to create the effect of old objects. The archaeologist's conclusion is not in favor of the ancient origin of the figurines: most likely, they were made in the early 1940s, and they were probably made by local residents themselves for sale.
The owner of the collection was outraged by such conclusions. According to him, the study of the figurines by Charles di Peso lasted no more than three hours. At the same time, at the time of analysis, the number of items in the collection amounted to almost 32,000 pieces. It was incomprehensible to Julsrud how, in a few hours, one could make a correct conclusion about the origin of the figurines.
The Mexican authorities also supported doubts about the fairness of the verdict. According to the official statement of the mayor of Acambaro, Juan Carranza, during the period of time when, according to Di Peso, the figurines were made, there was no ceramic production in the city or county. Moreover, according to the results of the population census, there was not a single person in Acambaro who was engaged in this type of activity.
Although even if such a craftsman could be found, in order to produce figurines, he would have to be either a philanthropist or a madman. It would hardly have occurred to anyone to use the expensive wood required for open firing of the figurines (and the figurines underwent precisely this method of processing), and then sell their figurines for one peso, that is, almost for next to nothing.

This can never happen...
However, all subsequent studies of the age of the Acambaro figurines have consistently recognized their modern origin. And even when the equipment indicated solid years of artifacts.
In 1968, several Acambaro figurines were sent for isotope research. A device based on the radiocarbon dating method showed that the youngest sample is approximately 3060 years old, that is, it was made in 1092 BC. And the oldest is 6480 years old and was produced at least in 4512 BC. However, in the official conclusion these results are presented as erroneous. There is no explanation given as to why the error occurred.

Could the plots of the Acambaro figurines be real?
Humans and dinosaurs could not live at the same time. Famous Russian esotericists, led by Ernst Muldashev, are ready to debunk the validity of this fact accepted by official science. The notorious ophthalmologist promotes the doctrine of the existence and succession of several earthly civilizations. According to the scientist, one of them, the Lemurian race (the third in a row) not only lived side by side with dinosaurs, but also created giant monsters itself! The Lemurians, who had enormous intellectual abilities, used technologies for cloning living beings, as a result of which terrible lizards appeared.
By their actions, the race committed a crime against the planet: the natural balance was disrupted. Of course, the planet had no other choice but to cleanse itself. Therefore, the outcome of the dinosaurs was a foregone conclusion. Along with the lizards, the Lemurians themselves died, except for some exalted ones who gave rise to a new race.

Text – Andrey Tarasov

"Acambaro Figurines" is a collection of more than 33 thousand miniature clay figurines depicting people and extinct animals, in particular dinosaurs. Collected by amateur archaeologist Waldemar Julsrud, who claimed to have found the first specimens in 1945 during excavations near Acambaro in Mexico.

Julsrud's collection includes more than just figurines. It also contains musical instruments and masks made of obsidian and jade. In addition, several human skulls, teeth of an Ice Age horse and a mammoth skeleton were found during excavations. As for the collection of figurines - the most voluminous part of the collection, it is interesting that not a single item is repeated. The figurines are mainly made of various clays fired over an open fire, and some are made of stone. Their sizes range from approximately ten centimeters to one and a half meters.

A common feature of all figurines is precisely captured plastic movement. Most of the exhibits were images of people belonging to different races - Polynesians, Negroids, Mongoloids, Caucasians (including those with beards), etc. Moreover, the figures of people show gentle humor and condescension towards their weaknesses.

More than two and a half thousand figurines depicted various creatures taken for dinosaurs, including those similar to iguanodon, tyrannosaurus, brachiosaurus, ankylosaur, plesiosaur, pteranodon, etc. There were also many unknown species, for example, something like winged dragons. There are a significant number of figurines that are common images of people with these creatures. Such everyday sketches showed a wide range of interactions - from hunting each other to domestication.

In a significantly smaller volume, figurines resembling extinct mammals were presented - an Ice Age horse, a woolly rhinoceros, giant monkeys of the Pleistocene period, and the like.

An analysis of the figurines by archaeologist Charles Di Peso showed that the figurines are of modern origin. Di Peso noted that the surfaces of the figurines were almost new and did not have the features characteristic of clay objects that had been in the ground for at least 1,500 years. The surface of the figurines showed neither the scratches nor the patina characteristic of ancient clay objects from this area. There is also no damage to the figures, which is sometimes done by people digging up archaeological finds. If the figurines were missing any parts, it was clearly visible that this was done by their manufacturer in order to create the impression of their antiquity. Di Peso also noted that all the figurines were found in the mud that filled newly dug pits at the excavation sites, while, for example, authentic Tarasco artifacts were recovered from the rock. Di Peso concluded that the figurines had been produced by local residents for profit since the early 1940s. They took ideas about the appearance of the figures from films, comics, library books, and also, possibly, based on impressions from visiting museums in Mexico City.

In addition, the following arguments for the modern origin of the figurines are noted:
- If the dinosaur figurines were really sculpted from life, why weren’t fossils of this nature found there?
— Why are there no mentions of dinosaurs in any of the known Mexican cultures?
— If dinosaurs were around relatively recently, what is the reason for their disappearance without a trace?

The first attempts to analyze the Acambaro figurines using thermoluminescence showed that their age was about 2500 BC. e. However, these studies were carried out when the dating method itself was just developing, and later studies showed that the result of the first analyzes was the result of an error. For example, Gary Cariveau and Mark Hahn attempted to date 20 figurines using thermoluminescence dating. They found that the figurines were fired at temperatures ranging from 450 °C to 650 °C and showed that using the now standard high temperatures in analysis calculations leads to incorrect results. After conducting a more correct analysis, they determined that the age of the figurines does not exceed 30 years since the analysis was carried out in 1969.

The opinions of supporters of the antiquity of the Acambaro figurines are detailed in the book of Professor Charles Hapgood, who studied them. Among them are the following arguments:

All clay figurines were open fired. This requires wood, which at the present stage in the arid region of #Acambaro is extremely expensive.
At the time of their release, the Acambaro figures were sold at too low a price (about 10 US cents), which allegedly did not recoup the cost of their production.
It is alleged that the Julsrud collection includes a significant number of stone figurines, all of which show signs of erosion, which cannot be faked.

In 1964, Waldemar Julsrud died and his house was sold. The collection of figurines, packed in boxes, was placed in the Acámbaro City Hall. In 1999, a significant part of the artifacts were discovered missing. The scandal resulted in the organization and opening of the Waldemar Julsrud Museum on October 9, 2000 in a separate small building allocated for it. Currently, a modest part of the collection is shown here as a permanent exhibition.
http://www.bible.ca/tracks/tracks-acambaro.htm
https://commons.wikimedia.org/wiki/Category:Muzeo_Julsrud?uselang=ru

There are cities on Earth that are associated not with local attractions and their ancient history, but with unusual finds and long ongoing disputes between scientists. One such place is the city of Acámbaro.

Inconvenient Acambaro figures or the amazing truth

Acambaro has long ceased to be a simple, unremarkable town in the center of Mexico. Its fame began in 1944, when an unknown hardware dealer, Voldemar Dzhulsrud, accidentally found a strange clay figurine resembling a dinosaur there. And the figurine would have stood somewhere on a shelf if Dzulsrud had not been passionate about archaeology.

He did not stop there and threw all his financial and physical capabilities into proving to the world the unusual nature of his find.

The former archaeologist knew the history of Mexico well and immediately realized that the figurines were at least more than one thousand years old. Dzhulsrud first hires a local peasant for excavations, and then he himself buys all the figurines found by the townspeople. Having collected enough funds, he begins his own research. The finds indicated that their creators knew no less about the world around them than we know now. There was also doubt that dinosaurs and humans lived in different eras. Everything spoke of their one-time coexistence. Many of the figurines depicted domesticated reptiles.

Of course, the entire scientific community could not help but react to such a find and subsequent articles by Julsrud in scientific journals. However, most scientists were skeptical about the works. Nobody wanted to believe in the truth of the discovery. And not surprisingly, this find completely destroys all previously recognized ideas about evolution. The local government sided with the archaeologist.

The authorities conducted a thorough investigation and announced that, for at least the last hundred years, no one in the city was engaged in pottery, and there were no machines for firing figurines in the city. Namely, these figures were made by firing. Even an isotope study in 1962, which showed that the figurines were more than 1000 years old, did not make the scientific world more loyal to Julsrud. Subsequently, these data were recognized as erroneous.

An unusual find in South America

The entire collection of figurines numbers about 35 thousand samples ranging in size from 5 centimeters to 1.5 meters in length. In 2000, the Voldemar Julsrud Museum was founded in the city, which can be visited by anyone. Local residents claim that right below the city there is a certain staircase leading deep into El Toro Hill. But they don’t like to talk about it too much, fearing an influx of researchers whose work could interfere with the normal life of the townspeople.

All these finds and disputes once again prove the existence of ancient civilizations. The city is located relatively close to the states once inhabited by the Mayans. It was in Mexico that artifacts were found that testified to the life of the Aztecs. And finds in the western part of South America tell a lot about the Inca civilization. These facts alone indicate that a fake is out of the question and one should be seriously interested in new finds. This is exactly what our archaeologists, led by scientist Andrei Sklyarov, are currently doing. We may soon have to change our ideas about the development of evolution on Earth.

In the book by G.A. Sidorov has some very interesting lines dedicated to the collection of clay figurines of Waldemar Dzhulsrud.

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Meet – Waldemar Dzulsrud Collection. « Waldemar Julsrud was a native of Germany who moved to distant Mexico at the end of the 19th century. He settled in the small town of Acambaro, 300 kilometers north of Mexico City. There he started his own business - trading in hardware - which brought him quite a decent income. And in his spare time, Julsrud was interested in archeology. In the early twenties of the 20th century, together with Padre Martinez, he discovered underground cultural monuments of Chupikauro, eight miles from El Tors Hill.

Waldemar Julsrud was well versed in Mexican antiquities and therefore immediately realized that the finds on El Toro Hill could not be attributed to any culture known at that time. Julsrud began his own research. True, not being a professional scientist, at first he acted very simply - he hired a local peasant named Odilon Tinajero, promising to pay him one peso (then equal to about 12 cents) for each complete artifact. Therefore, Tinajero was very careful when excavating, and glued accidentally broken objects together before taking them to Julsrud. This is how the Julsrud collection began to take shape, the addition of which was continued by Voldemar’s son Carlos Julsrud, and then by his grandson Carlos II.

In the end, Dzhulsrud’s collection amounted to several tens of thousands of artifacts - according to some sources there were 33.5 thousand, according to others - 37 thousand!"(SID, p. 124).

Rice. 1. Communication between dinosaur and man

Below this certificate is Fig. 1 (SID, p. 124) with the author’s signature and remark: “ Obviously, dinosaurs were once pets of an ancient race" This interested me very much, and I decided to read about this man in more detail. On the Internet I found the following information: “ But the most interesting event in his life happened twenty years later, in July 1944. Early in the morning, he was horseback riding along the slopes of El Toro Hill and suddenly saw several hewn stones and fragments of ceramics protruding from the soil. After examining the strange finds, Julsrud came to the conclusion that they could not be attributed to any known archaeological culture. The hardware merchant decided to start his own archaeological research and hired a local peasant named Odilon Tinajero, promising to pay him one peso for each artifact he discovered. Therefore, Ginajero was extremely careful during excavations, and accidentally glued broken objects together before taking them to the employer. This is how the famous Julsrud collection began to take shape, which was first replenished by Waldemar’s son, Carlos Julsrud, and then by his grandson, Carlos Jr.

Ultimately, Dzhulsrud’s collection began to number about 35 thousand artifacts. These are mainly figurines made from various types of clay, sculpted by hand and processed by open firing. The second category is stone sculptures. The third is ceramics. The most interesting fact was that in the entire collection there was not a single repeating copy of the sculpture. The sizes of the figures vary from ten centimeters to one meter in height and one and a half in length. In addition, the collection contains musical instruments, masks, and tools made of obsidian and jade found there. Along with the artifacts, several human skulls, a mammoth skeleton and the teeth of an Ice Age horse were discovered during excavations.

In Dzhulsrud's collection there were many anthropomorphic figurines representing almost the complete set of racial types of humanity - Mongoloids, Negroids, Caucasians, Polynesian type and others. But this was not the main sensation. The most mysterious thing was that approximately 2,600 figurines were images of dinosaurs. Moreover, the variety of types of fossil lizards causes true amazement. Among them there are species that are easily recognizable and well known to paleontological science: brachiosaurus, iguanodon, tyrannosaurus rex, pteranodon, ankylosaur, plesiosaur and many others. There are a huge number of figurines that modern scientists cannot identify, including winged “dragon dinosaurs.” But the most striking thing is that the collection contains a significant number of images of humans along with dinosaurs of various species. The collection also includes now extinct mammals - the American camel and horse of the Ice Age, giant monkeys of the Pleistocene period and others».

It is clear to me that Waldemar Julsrud came across an ancient museum on the history of mankind, where the exhibits were represented by clay figurines. In some of my articles, I already wrote that archaeologists sometimes dug up human skulls in excellent preservation. My reading of the inscriptions on them showed that these were museum exhibits, specimens prepared for long periods of storage many thousands of years ago. So random finds of ancient museums are a fact that has not yet found not only an explanation, but even a mention in the archaeological literature. And only because ancient people, according to modern archaeological concepts, are interpreted as terrible primitives, incapable of museum activities.

As I can judge from personal experience, the discoverer, instead of awards and honors, faces obstruction and defamation. What was the fate of Jelsrud himself?

The history of Dzhulsrud itself

« It was this component of the finds from Acambaro that served as the reason for the long history of accreditation of the collection and its owner. In many ways, this is understandable, because the fact of coexistence and close interaction between man and dinosaur not only refutes the linear evolutionism of the theory of the origin of species on earth, but comes into irreconcilable contradiction with the entire modern officially accepted worldview paradigm. When in 1947 Julsrud published a book about figurines at his own expense, official science did not show any interest in it. And in the future, recognition of the collection came with great difficulty.

In 1950, American journalist Lowell Harmer came to Acambaro. He was present at the excavations at El Toro Hill and even photographed Julsrud with the newly excavated dinosaur figurines. Following him, Los Angeles journalist William Russell published material about the excavations of Julsrud with a photo report. In his publication, Russell indicated that the artifacts were removed from a depth of 5-6 feet (one and a half meters) and many of the objects were entwined with plant roots, so he did not have the slightest doubt about the authenticity of the finds. These publications played a role in popularizing Waldemar Julsrud's collection and broke the conspiracy of academic silence.

The thesis about counterfeits was officially refuted by the Mexican authorities in 1952. Then the superintendent of the National Irrigation Institute, Francisco Sánchez, said that he could unequivocally state the absence of any ceramic production in Acámbaro. The mayor of the city of Acambaro, Juan Carranza, also issued an official statement saying that, based on the results of a special investigation carried out in the area, it turned out that there is not a single person in the city and its surroundings who would be engaged in the production of such products. History professor Ramon Rivera interviewed local elders and learned that over the previous hundred years, nothing resembling large-scale ceramic production had ever occurred in the Acambaro area. However, it is clear to any sane person that no one will make thousands and thousands of figurines and bury them deep in the ground to prank the public. The collection has its own peculiarities. Not only does it not contain a single duplicate, but the ceramic figurines are made from different types of clay, in different styles and with varying degrees of skill. To produce the figurines would require a huge amount of wood, which in the arid and treeless region of Acámbaro was always extremely expensive. In addition, such a large-scale production with open firing simply could not go unnoticed.

By 1954, criticism of the Dzhulsrud collection, initiated by ill-wishers, reached its maximum, and this led to the fact that official science finally showed interest in it. A delegation of scientists headed by the Director of the Department of Pre-Hispanic Monuments of the National Institute of Anthropology and History, Dr. Eduarde Nokvera, went to Acambaro. In addition to him, the group included three other anthropologists and historians. This official delegation itself chose the site for control excavations on the hillside. They took place in the presence of many witnesses from respected local citizens. After literally several hours of work, a large number of figurines similar to the samples from the Dzhulsrud collection were found. According to the capital's archaeologists, examination of the found artifacts clearly demonstrated their antiquity. Members of the group congratulated Julsrud on his outstanding discovery, and two of them promised to publish the results of the trip in scientific journals. However, three weeks passed, and upon returning to Mexico City, Dr. Nokwera presented a report claiming that the Julsrud collection was a fraud because it contained dinosaur figurines».

So, the first discovery was made in 1944, during the war, and 6 years may not have been before it. But 10 years later, in 1954, official science showed interest in the collection. Quite fast in my opinion. In Europe this period is twice as long.

"Exposure" by Dzhulsrud. « Everything was complicated in the future; there were always those who wanted to expose Dzhulsrud. Meanwhile, experts from the United States have established that the age of the figurines ranges from two to five thousand years. The collection contains a large number of stone figures, all of which show signs of severe erosion. It's almost impossible to fake it. It turned out that the Indians had considered the El Toro hill sacred since ancient times. Nowadays, local residents claim that there are four tunnels that lead deep into the hill. There seems to be an underground city of some ancient civilization hiding there. But people diligently hide the entrances to these tunnels, because they are afraid that their native places will become the subject of unnecessary increased interest of strangers. And the American John Tierney, who has been studying materials from Acambaro for almost forty years, is convinced that the collection collected by Julsrud is only part of the huge “library” accompanying the tomb. He believes that the main component of the El Toro monument should be a burial, which has not yet been found».

It is clear why the Indians considered the hill sacred - these were the remnants of a different, pre-Indian civilization. And in that civilization there could well have been some museums that preserved the memory of much more ancient times, cultures and ancient history.

Authenticity of the collection according to the scientist. « It should be noted that back in 1945, the director of archeology of the Acambaro zone at the National Museum of Anthropology in Mexico City, Carlos Perez, said that the authenticity of the items in the Julsrud collection is beyond doubt. Moreover, he personally had the opportunity to study dinosaur figurines found at the sites of some ancient settlements in Mexico. In 1978, federal police confiscated 3,300 figurines from two antiquities hunters, similar in style to the Julsrud collection. Among them were nine dinosaur figures. But they were all found on the El Chivo hill, also located near Acambaro.

To claim that the Indians of Mesoamerica lived side by side with dinosaurs would be somewhat reckless. It is more logical to assume the following. Archeology is hardly an activity that only our contemporaries are interested in. Digging up ancient Roman and Etruscan ancient monuments from the ground was very popular in medieval Italy. It is known that subjects of the Egyptian pharaohs were not averse to delving into the thickness of the sand in search of something very ancient. It is possible that their contemporaries in Mexico could also engage in paleontology, and were even quite successful in this. So much so that students in schools made figurines of clay dinosaurs during lessons, sometimes fantasizing and depicting fossil lizards together with people. When a certain ruler who patronized knowledge died, thousands and thousands of clay figurines and much more were placed in his burial. Among other things, there were figurines of dinosaurs... But this, of course, is only one of the hypotheses"(BOOM).

So, even the journalist believes that the figurines are a figment of the imagination... of schoolchildren who lived 4 thousand years ago near present-day Mexico City and carried out paleontological research on a much larger scale than all modern academic science combined. Or those who had such a rich and precise imagination that they could be called clairvoyants. I believe that both assumptions are very exotic.

As usual, instead of starting to study the mysterious phenomenon and try to understand the purpose of the figurines, both scientists and journalists are simply forming arbitrary hypotheses ad hoc.

Rice. 2. Aquatic dinosaur and a man sitting on it

Start of research

I have my own research methods, namely epigraphic ones. I believe that if you read some of the inscriptions on these images, they can shed light on the purpose of these figures. But first, however, you should make sure that there are some inscriptions on the photographs given.

So, I'm looking at the image in Fig. 2 (SID, p. 125) and I see that some words are written against the background of a dinosaur’s head. The fact that the inscription is not located on the figure itself does not bother me: for now my task is to understand that some letters accompany images of dinosaurs. And I have no doubt that these are Russian letters and Russian words.

The inscription, although low-contrast, was quite readable. I read the words YARA KAT, where the first word is painfully familiar to me, while the second I see for the first time. Of course, the word is not written very clearly, errors in the interpretation of the letters are possible, but if this kind of inscription exists on other figures, the incorrect reading can be corrected. The word KAT is today the root of the verb RIDE, so the word must mean some kind of vehicle in which people rode.

Rice. 3. Demitrodont and the man cleaning it

Commenting on Fig. 3 (SID, p. 124), Sidorov notes: “ Paleontologists believe that demitrodonts lived on Earth in the Triassic period of the Mesozoic era" Quite possible. Now I’m interested in something else: what kind of inscriptions are there. First of all, there is again an inscription on the background above the tail. It is so thin that it would be very difficult for me to reproduce it as a signature, and I will read the first two words written on one line: KAT YARA. This is a repeat of what I read above, so the word KAT was read correctly. But now I would like to go further and read the inscriptions on the clay figurine itself. This turned out to be possible because right in front of the man’s left hand there is a clearly visible letter P, and to the left of it is a less obvious letter P. As a result, you can read the word YARA.

Another word CAT, is read under the dinosaur tooth closest to the person’s face and the next one. So the words that were first read in the background behind the figurine are now found on the figurine itself. And on the man’s back there is a vertical inscription, which should be turned 90 degrees to the right. Then you can read the words YARA MARY and the beginning of the expected word TEMPLE). Usually, the products of the Temple of Mary were those things that were placed on the dead so that they would go with their owners to the next world. So my idea of ​​the museum may not be entirely correct here: it is possible that Julsrud came across burial chambers where traditional objects of funeral cult are presented.

Completely unexpected for me was the discovery of an image of a man on the body of a dinosaur, above the hand of a relief man and below his chin. Careful copying of this image showed that the face is shown in profile, turned to the left, and is much closer in outline to the face of a modern person than the face of a little man. He has a large fleshy nose, thin lips of a wide mouth, a sharp chin, no mustache and beard (the man is clean-shaven), but what completely knocks him out of the saddle is that the little man is wearing modern-looking GLASSES on his nose, and in front of his stand-up collar is a BOW TIE! But as a headdress, a figurine of a lying lion is used - a symbol of Rod or Yar, and the word is written in front of the lion and on its head YAR! I have never seen such an image of the god Yar before!

But this image is another confirmation of the cult nature of the find. God Yar is depicted here in both human and animal forms. Moreover, each image is very realistic: the lion is shown in full profile, and the human face is shown with all the signs of a high civilization.

First result. Having examined the first two figures, I come to the conclusion that 1) both on the figures themselves and on the background against which they were photographed, there are inscriptions; 2) these inscriptions are made in Russian; 3) they are associated with the funeral ritual; 4) they are also associated with the god Yar, having the most direct relation to him, and 5) the dinosaurs themselves, apparently, were called in that era by the word KAT, which meant MEANS FOR RIDING. Finally, 6) civilization, judging by Yar’s portrait, was in no way inferior to ours: men shaved their faces, wore glasses, stand-up collars and bow ties.

Rice. 4. Herbivorous dinosaur

Continued research. In Fig. 4 depicts a creature that is characterized by Sidorov as follows: “ Clay figurine of a herbivorous dinosaur reaching for a tree branch. Apparently an iguanodon"(SID, p. 123). Here I see two inscriptions - opposite the first and opposite the fourth dinosaur teeth (counting from above). They form the inscription already familiar to us: YARA WORLD. However the head itself also contains two inscriptions which I read as KAT YARA. Now I no longer have the slightest doubt that all dinosaurs at one time were called the word KAT.

Rice. 5. Elasmosaurus

And here Sidorov gives a more extensive description: “ Image of a long-necked elasmosaurus. The animal climbed ashore. It looks like it's basking in the sun"(SID, p. 123). To be honest, I don’t see the shore here, nor do I see the sunbathing pose. However, there are inscriptions here too. In the middle part of the neck one can find a very deformed face of a man, turned ¾ to the left, whose eyes, as well as his nose, form the inscriptions YARA KAT. These phrases have now become very familiar.

Rice. 6. Unknown Dinosaur Species

Regarding Fig. 6 Sidorov notes: “An unknown species of dinosaur” (SID, p. 125). I'm interested in the inscriptions on the background above the neck that read WORLD OF MARA, as well as inscriptions on the neck itself: MARA YARA And MARY YARA KAT. It follows from this that not all dinosaurs were Yar’s vehicles; there were also Mara’s kats, but in the WORLD OF MARA. Thus, apparently, these were dinosaurs of a different, earlier era. Although this is just a guess for now.

Rice. 7. One of the images from the site http://news.students.ru/index.php?newsid=2318

A rare case of matching. Now I would like to compare the black and white image of one of the figures with the color one. It is immediately clear that a black and white image has much more contrast than a color image, and therefore allows you to identify faint inscriptions without much visual strain. Both images were taken from the Internet, so I had no part in getting a more contrasting picture. From this comparison it is clear that in some cases black and white photography provides the epigraphist with more research opportunities than color photography. She doesn’t add anything new “from herself”, or “from the camera”, or, especially, “from the photographer”. Like a microscope that magnifies a small image, such photography enhances contrast, helping a person enhance faintly visible signs.

So, I start reading. Above the left upper leg I read the words YARA MARY TEMPLE. We have already encountered this kind of inscription. Next I read the inscription on the back MIMA MARY- she says that this figurine was used as a sacred attribute by Mima Mara. There is also an inscription in this place, light on dark, which is appropriate to read in reverse color - the word is read WORKSHOP(most likely Mary). Just below the word is written in wide letters HARM(TEMPLE), and then - a previously unknown inscription U KATA YANAKA, that is, TEMPLE AT THE YOUTH DINOSAUR. It is possible that temples were also dedicated to dinosaurs. - There is also a separate inscription here CAT.

At the base of the left hind leg, a full-face image of a man’s head can be identified, tilted to the right. The eyes are open, the mustache and beard are very thick. Interestingly, this part is very poorly visible in a color photograph. There is an inscription on the right eye YAR, which is visible even in a color image, although here it is not very contrasting. The inscriptions at the base of the left front leg are written vertically, and when they are turned to the right to a horizontal position, they form the words MASK OF YAR. This is very important information: it is now clear that KAT (dinosaur) was a clay icon of Yar. I note that on the midline of the tail in the color image there is a similar inscription, completely undetectable in black and white (everything looks too black there). The inscription reads: YARA MASK. Thus, we can assume that this word is read confidently.

Finally, there is a fragment on the front of the dinosaur's left foreleg where the inscriptions are best read in reversed color. One of them is: KATY YAR. It follows from it that there were many such figurines depicting the zoomorphic face of Yar.

Rice. 8. Figurine of a man with a small dinosaur

Alternate History Laboratory

I borrowed the following figure from an image on the website of the Alternative History Laboratory, where an attempt was made to communicate with the custodians of these figures. I will provide excerpts about the trip there below, but for now I will comment on the image itself. Here we see an image of a seated woman holding a small dinosaur in her arms. Of course, there are inscriptions on the figure.

The first inscription I read is on the woman’s dress above the dinosaur: MAKEUP WORKSHOP. It means that these objects were considered works of art at one time. You can read the words above the woman's very wide mouth YARA MARY TEMPLE. This is a designation of the place where this figurine was used. You can see the inscription near the lips and on the teeth WORLD OF YAR, MASK. So this image was also an icon.

Rice. 9. Another image of the same figure

Just in case, I present another image of the same figurine to show that it is no longer possible to read the inscriptions on it. The figurine was photographed without a flash and small details on it cannot be identified. Thus, you can understand that even a color image is not suitable in every case. There is also another figurine of a dinosaur with a strange-looking man.

Rice. 10. A dinosaur figurine with scales similar to tree bark

On another figurine of a dinosaur with scales similar to tree bark, you can read a number of inscriptions: KAT, SE YARA KAT And YARA KAT. We have already encountered all these words and phrases.

Let us now move on to the descriptive part of the same article, published on the Laboratory website http://lah.ru/expedition/mexico2007/acambaro2007.htm.

Trip to Mexico. « The goal was known in advance: a local museum that houses the collection of Waldemar Julsrud, which is still considered a fake or forgery in the academic community (for details and details on the collection, see the corresponding page of the Laboratory Photo Bank). It's all because of the dinosaurs, which in the collection are not only next to humans, but also interact with them.

Since, to be on the safe side, we found the museum the evening after our arrival, the next day its director, Miguel, was already waiting for us in the morning. Apparently, the peculiarities of life and the dissemination of information in a small town had an impact. Or maybe Miguel is surprised that his museum is known even somewhere in distant Russia... Filming through glass is an unpleasant and ineffective thing. But Miguel turned out to be a very approachable person, and after a while we were already unscrewing the display cases with all our might and pulling out ancient figurines into the light (being afraid, of course, of breaking something). In the midst of the work of unwinding the display cases and photographing their contents, a representative of the local municipality (whose department runs the museum) suddenly appeared. Having met us, he calmed down, and then went away for a while and returned with some items from his private collection - only to brag, since he categorically refused to sell anything. We were most attracted by a ceramic vessel in the shape of a winged dragon, as well as a jade figurine of the god of fire, on the underside of which traces of... tubular drilling were clearly visible!!!

Towards the end of the day, what we had hoped for and secretly expected finally happened: Miguel began to take out figurines from the “bins”. However, the “bins” consisted of entire floors of simple plastic boxes standing in his office (after all, the collection numbers about 20 thousand pieces!).

We already considered our task completed one hundred percent (especially since Miguel gave us a fragment of one of the figurines for analysis in Russia). But at a friendly dinner together, it suddenly became clear that Miguel was ready the next day not only to show us the place where the figurines that now make up the collection were found, but also to give us the opportunity to try our luck ourselves, since he had official permission to excavate. No sooner said than done. After dinner we stopped at the store for entrenching tools, and in the morning we rushed to the place right at dawn. The beautiful half stayed at the hotel - after all, it was a holiday on March 8 (but later they still joined us, waving their pick and shovel, not without pleasure).

At about 10 am, representatives of local law enforcement appeared, interested in the fact that someone was digging up something in their sight. They politely greeted us, took photographs of the holes we had dug and retreated, quite satisfied with Miguel’s explanation that “crazy gringos are looking for dinosaurs”...

Of course, it’s difficult to hope for success right away. Unfortunately, no dinosaurs could be found. But ceramics and pieces of obsidian fell as if from a cornucopia. By noon they had accumulated several kilograms. The most successful find was a piece of a ceramic figurine - a human torso, which we took with us as being of no historical value for archaeologists and historians...»

Well done A.Yu. Sklyarov and A.V. Zhukov, who were able to photograph part of the collection directly to museums, and brought some fragments for research!

Research of collection materials. http://lah.ru/expedition/mexico2009/an2.htm. " The collection of sculptures collected by Waldemar Julsrud and stored in the Mexican city of Acambaro is the subject of active interdisciplinary debate among historians, archaeologists, art historians and representatives of other fields of knowledge on the Internet (Yandex provides a link to more than 1,500 pages of sites where this topic is discussed, and the English language Google finds over 2,600 pages for the name Waldemar Julsrud).

The subject of controversy is the authenticity of the collection, as it contains exhibits depicting various types of dinosaurs and compositions in which people interact with dinosaurs.

However, no serious natural scientific arguments have yet been presented in support of the version of falsification - assessments have been made and are being made on the basis of the “incomparability” of the collection items with the artifacts of this region of Mesoamerica known to historians and archaeologists, and the vast majority of specialists participating in the discussion have never had deals directly with collection items.

All the more significant and interesting is the information from the expedition of A. Sklyarov and A. Zhukov, which appeared as a result of studying the collection on site (in the Voldemar Dzhulsrud Museum in Acambaro on March 15 - 27, 2009) and the subsequent study of some of the brought samples using semi-quantitative electronic methods. probe analysis using EDS and X-ray powderogram in the laboratory of the Mineralogical Museum. A.E.Fersman RAS. The electron probe analysis method is one of the varieties of X-ray fluorescence analysis and is characterized by a special method of exciting fluorescent radiation using an electron beam. The author of the study characterizes the advantages of using this method as follows: “In this context, it is important that the locality of the electron probe method is very high and at least an order of magnitude higher than when excited by X-rays (even the current best devices with X-ray capillary optics have a spot diameter on the target more than 5 µm)".

One of the samples analyzed is a figurine of an unknown animal (Fig. 1). The researcher describes it as follows: “General view of a ceramic figurine (length 18 cm). White discolorations are visible on the left paw, neck and head.".

As a result of the study, the following conclusion was made: “ This estimate—several hundred years—can be accepted as a lower limit on the lifetime of efflorescence on the surface of samples from Acambaro, consistent with experimental data on instrumental analysis of these samples (see Note below).

Thus, the question of falsification of the Dzhulsrud collection can be considered closed, and the attention of researchers should be focused on a meaningful explanation of the composition of this collection.

In this regard, it is necessary to keep in mind the Everettian interpretation of this phenomenon as the gluing together of some branches of the alterverse, expressed in the work and supported by A. Zhukov and A. Sklyarov, who are currently the most qualified and most informed researchers of this historical mystery».

In other words, the collection dates back at least several hundred years, and at most 4 thousand years.

Dinosaur Drivers. Arguments and facts No. 17, dated April 23, 2008. Here is a short excerpt from this article. " At the turn of the 60s and 70s, several exhibits from the Dzhulsrud collection were sent for examination to US universities. The results were amazing: one figurine was made in the middle of the 5th, another - at the beginning of the 3rd, and two more - in the middle and end of the 2nd millennium BC! The ancient sculptors, of course, did not intend to fool their descendants.

About 15 years ago, the remains of sauropods with conical spines on their backs were first found in the United States, which was a small discovery. And in the Dzhulsrud collection, figurines of this particular type of lizard with pointed backs have been kept for half a century. This means that they sculpted animals from life, and giant dinosaurs did not go extinct 65 million years ago, but were contemporaries of the ancient Americans.

But why did people sculpt lizards?

Self-portraits of intelligent reptiles. Anticipating an impending natural disaster and inevitable death, the indigenous inhabitants of America (and they, let me remind you, knew astronomy excellently and created a calendar more accurate than ours, the Gregorian) could leave a memory of themselves and the life around them. Or representatives of an advanced civilization who lived in the territory of ancient Mexico engaged in genetic experiments to breed unprecedented creatures. One of the preliminary phases of this work is the recording of those species that existed in nature.

Finally, a completely fantastic hypothesis: what if these lizards were intelligent and the giant cities built in the New World were their work? Why not? Exploring Mexico and neighboring countries, our correspondent came to the conclusion that before Columbus landed on the lands of the New World, in addition to the Indians, there lived representatives of all races existing on the planet. And they were so developed that they knew how to perform, for example, brain surgery. About this in the next report from Central America».

About the film. Let's now move on to the Internet. This is what a certain Lomeiko writes on 08/02/2008 on the website http://www.evangelie.ru/forum/t46864.html regarding the film that he watched on the website http://depositfiles.com/files/6894413. " Very interesting film. "Mexican Dinotopia" - a collection of figurines by Waldemar Julsrud. A Mexican research scientist dug up a collection of 35,000 (!) clay figurines of people, animals and dinosaurs, and not a single one is the same (Julsrud donated his entire fortune for this - 70,000 pesos or $8,500 at the modern exchange rate). The director of the museum has not even familiarized himself with the entire collection - most of the specimens are in boxes. This collection has been carefully kept under wraps because it challenges the very idea that dinosaurs went extinct millions of years ago. The collections are approximately 5-6 thousand years old. Falsification is excluded - no one will sculpt 35,000 different figures and bury them in the ground for the sake of cheap sensation. This, of course, does not yet prove or disprove anything in the questions of “evolution-creation,” but it is still a serious claim that humans and dinosaurs lived side by side at the same time, and relatively “recently.” The good thing about the film is that it was created by secular scientists and they themselves question the “sacred cow” of evolution. No modernism, no creationism. Just a very interesting popular science film. I advise you to download, watch and discuss».

Sklyarov's opinion . « As a result of quite a long reflection on the comments that could be provided with the photographs given in the report, Andrei Zhukov and I came to the decision not to give any comments at all. Let everyone draw conclusions and generalizations for themselves. But we, on the contrary, would like not so much to express our own as to hear the opinion of others.

I would just like to draw your attention to some details of the collection:

- a very significant number of images of animals with only two limbs, which can be both front and rear (although there is a figurine of a dragon/dinosaur even with six legs!);

- quite a large number of figurines have a salt patina, which indirectly indicates their venerable age and refutes the version of falsification;

- in some figurines, crystals of salt have emerged on the broken parts, which indicates that these figurines were not only made, but also damaged quite a long time ago;

- the creator (or creators) of the figures clearly had a sense of humor...».

Discussion

As you can see, there are several versions about the mysterious figurines: 1) these are the fantasies of schoolchildren of the Bronze Age, 2) these are casts from life of those dinosaurs that still lived side by side with people of the Bronze Age, 3) these are casts from life of ancient dinosaurs, whose figurines were selected in the Bronze Age as a result of excavations of more ancient burials, 4) these are sketches of Indian genetic laboratories for breeding new species of intelligent living beings.

I believe, however, that none of these versions is correct. I began my epigraphic research with the assumption that we are dealing with museum exhibits that convey the appearance of creatures of the distant past. As a result of the research, I did not change my initial view much, although the concept of a museum again merged with the temples of the Vedic gods.

What did my readings show? First of all, we are again talking about a single world written culture, which preceded the Indian one and which had the Russian language and the runes of the Family as its written language. In other words, my assumptions that almost before antiquity the Russian language was the single world language (even in the presence of already emerging local languages) received another powerful confirmation.

Further, it turned out that on all the figures on which it was possible to identify written signs, they were talking about the same Russian gods that I talk about in almost every article of mine - about Mokoshi, Mara and Yara. And about their temples. Thus, these data fully correlate with the results of the discovery in Latin America of geoglyphs signed in Russian and conveying the names of the temples of Russian Vedic gods. In this sense, I did not expect anything else.

But there was also a new element in these readings. First of all, it turned out that the dinosaur figures were MASKS, that is, icons of deities. In this sense, it was very interesting to learn that the earliest zoomorphic hypostasis of Yar turned out to be a dinosaur. With all my imagination, I could not have imagined this; the inscriptions convinced me of this.

Continuing these analogies further, I can assume that the plot of “Mara with the baby Yar” already existed then, and Fig. 8 precisely conveys this sacred image. For Mara is embodied here in her anthropomorphic hypostasis, and little Yar is embodied in the zoomorphic hypostasis of a dinosaur.

Further, on all the figures I was able to read only one new word that served to designate a dinosaur - the word KAT. I interpret this word as a monomorpheme, conveying a root, with the meaning of “a creature that can be ridden.” Moreover, it seems to me that this word in the Russian language over time became pronounced and turned into the word GAD - a collective designation for any reptiles. In any case, the appearance of an ancient, now forgotten Russian word is a small victory in terms of collecting very ancient words that have fallen out of use.

Now we can return to determining the purpose of these figures. I believe what we are talking about is that Julsrud found several temples from different eras, for example, the temples of Mary and the temples of Yar, where there were a variety of clay icons. I note that clay icons even survived into Christianity, and depicted saints either in reliefs or engravings. And the most important subjects, such as the crucifixion, could also be made in the form of a figurine.

As you know, the traditions of icon painting are the most rigid and are preserved for a very long time. Therefore, I do not have the impression that these figures were sculpted from life in the Bronze Age. However, I have the impression that the canons of depicting dinosaurs could well have survived into the Bronze Age, since these creatures were considered zoomorphic forms of gods. The question of whether people coexisted with dinosaurs at the same time, or whether they were attributed divine properties when their skeletons were found or even their carcasses preserved in particularly favorable conditions, remains open to me. After all, just as for northern hunters it was a miracle that mammoths thawed from the permafrost layer, so for our ancestors of the Neolithic or Bronze Age it was a miracle to see the numerous preserved remains of ancient reptiles. And they could well be attributed divine properties, that is, identified with gods. In particular, this is evidenced by the presence of only one name for all their different varieties - KAT. If people lived side by side with them, then each of their species would receive its own name.

In the very center of Mexico, three hundred kilometers from the capital, there is a small town called Acambaro. It is not much different from the mass of other Mexican towns. It does not have any generally recognized attractions dating back to ancient history or at least to the time of the Conquest, so the main tourist routes pass away from Acambaro, and to get there you will have to make a fair detour.

However, for us, Acambaro was one of the main points of the expedition route, which greatly surprised the host travel agency, as a result of which we were accompanied throughout the entire route by Galina Strelkova, who, due to her position, generally does not accompany groups. But in this case, she was so intrigued by our interest in the seemingly ordinary little town that she spent the entire three weeks of the expedition on us. And I hope that she was not bored with us. However, judging by her reaction to what we saw with her in Acambaro, it seems that she did not regret her choice.

The purpose of our visit to Acámbaro was the municipal museum, which houses the collection of Woldemar Julsrud (Fig. 192). A collection that is rejected and even simply ignored by academic science under various pretexts. Therefore, the museum is little known to the general public, although it was opened back in 2000, and the history of the collection itself began more than half a century ago. And besides us, during the whole day of visiting, only a few people came here, and then quite by accident...

A native of Germany, Waldemar Julsrud moved to Mexico at the end of the 19th century. Being a rather enthusiastic person, he tried many fields of activity, among which was archeology - already in the twenties of the twentieth century, Dzhulsrud took an active part in excavations and therefore was well versed in Mexican antiquities. But he was not a professional scientist, and by the time he began to form his collection, which is now kept in the museum named after him, Dzhulsrud was engaged in the hardware trade.

Early one morning in July 1944, while horseback riding along the slopes of El Toro Hill in the vicinity of Acambaro, he saw several hewn stones and fragments of pottery peeking out from under the soil. Having enough knowledge of local archeology, Julsrud immediately realized that the finds on El Toro Hill could not be attributed to any of the cultures known at that time.

He began his own research, doing something very simple at first - he hired local peasants. However, they chased the number of finds, without paying much attention to their safety, and brought Dzhulsrud many already broken clay figurines. He then changed tactics and announced that he would only pay for complete items, and paid from one to three pesos (the Mexican peso was then equal to about 12 American cents) for each complete find, depending on its size. After this, the work went much more accurately, and even accidentally broken objects were pre-glued together before being presented to Dzhulsrud. This is how his collection began to take shape, which was later replenished by his son Carlos and grandson Carlos II.

Active excavations continued for seven years. Julsrud spent almost all of his fortune, which amounted to about 70 thousand pesos (at that time it was equal to approximately 8.5 thousand American dollars). However, being a researcher and not a dealer in antiquities, Julsrud throughout his entire life, even in the most straitened situation, did not sell a single item from his collection, which ultimately numbered, according to various sources, from 33 to 37 thousand different items!..

The collection consisted of several main types of finds: ceramics, stone sculptures, musical instruments, masks, tools made of obsidian and jade. But the most numerous were figurines made from various types of clay, made using the hand-modeling technique and fired using the open firing method. The sizes of the figures ranged from ten centimeters to one meter in height and one and a half meters in length. During Dzhulsrud’s lifetime, his entire collection, only in packaged form, occupied 12 rooms of his house!..

Surprisingly, all the items in this collection were found in one rather limited area - on the slope of the El Toro hill (Fig. 194), located on the very outskirts of the city of Acambaro, in a strip approximately 80 meters wide and one and a half kilometers long along the entire slope of this hill.

All the objects found were located in specially dug holes, at a depth of about one and a half meters. Each such hole usually contained thirty-forty artifacts. However - and this is another amazing point - all these holes were not someone’s graves at all. No human burials were found at all on El Toro Hill.

From the very beginning of his research, Julsrud tried to attract the attention of representatives of the scientific community to his findings, but was faced with indifferent ignorance. Even his publication at his own expense of a book about the collection in 1947 did not force professional scientists to show any interest in his collection.

The problem is that in addition to household items, dishes, musical instruments, images of people and ordinary animals, workers took out figurines of dinosaurs and other extinct animals from the ground on the slope of El Toro!.. And these were not isolated finds. By the end of his life, Dzhulsrud collected several thousand of these figurines!..

We are already accustomed to dinosaurs. We see their images in museums, on TV screens, and on the shelves of toy stores. And they are not something unusual for us. But here we are talking about the fact that dinosaur figurines were made by some inhabitants of Mesoamerica in the past!.. And this required explanation. Where did such stories and images come from in the heads of local sculptors?... What kind of culture had a hand in their creation?... Why are these images so realistic?... And so on and so forth. Such questions knocked out historians, and it was easier for them to simply ignore Dzhulsrud’s collection.

In 1950, Acambaro was visited by American journalist Lowell Harmer. He attended the excavations at El Toro Hill and even photographed Julsrud with the newly excavated dinosaur figurines. (This story was published in the Los Angeles Times, March 25, 1951). Following this, another Los Angeles journalist, William Russell, published an article about Julsrud with photographs of the excavation process (“Fate”, March, 1952, June, 1953). In this article, Russell wrote that the finds were obtained from a depth of about one and a half meters. Moreover, many of the objects were entwined with plant roots, so Russell had no doubt about the authenticity of the finds. These publications finally drew attention to the Julsrud collection and broke the conspiracy of silence among professional historians.

Alas, Julsrud did not get the reaction he expected...

In 1952, professional scientist Charles Dipeso became interested in the collection and Julsrud sent him samples of the figurines. Although laboratory tests did not give any clear result, Dipeso was initially convinced that this was falsification. However, in July 1952, he nevertheless came to Acambaro to familiarize himself with the collection on the spot.

According to Julsrud, Dipeso, after viewing the collection, expressed his admiration for these finds and expressed a desire to buy samples for the Amerind Foundation museum, where he worked. However, upon returning to the United States, he published several articles (“American Antiquity,” April 1953, “Archaeology,” Summer, 1953), in which he categorically stated that the Julsrud collection was a falsification. In particular, Dipeso claimed that after studying the 32,000 objects in the collection (which actually took only four hours), he came to the conclusion that the iconography of the artifacts, especially the images of eyes and lips on the figurines, was modern in nature. In addition, Dipeso, citing information from a certain illegal dealer in Mexican antiquities, wrote that the entire collection was made by one Mexican family who lived in Acambaro and was engaged in the production of these crafts in the winter months, in their free time from agricultural work. And the falsifiers allegedly gleaned information about dinosaurs from films, comics and books from the local library...

The claim that the Julsrud collection was made by any of the residents of Acambaro was immediately officially denied by local Mexican authorities. Also in 1952, Francisco Sanchas stated that after four years of studying archaeological activity in the area and the nature of the activities of the local population, he could unequivocally state the absence of any ceramic production in Acambaro. On July 23, 1952, the mayor of Acambaro, Juan Carranza, issued an official statement No. 1109, in which it was reported that, based on the results of a special study carried out in the area, it turned out that there was not a single person in Acambaro who would be engaged in the production of this type of product.

However, Dipeso's assertion of falsification does not stand up to criticism even at the most banal level.

Firstly, no one - even a professional - sculptor is simply able to produce more than thirty thousand figurines from both ceramics and stone in just a dozen or two years (let me remind you that the first discoveries were made just eight years before Dipeso’s statement). And not only to make them, giving them the appearance of ancient products, but also to secretly bury them to a depth of one and a half meters. Yes, so that during all this time no one would notice fresh traces of shoveling...

Secondly, even if the collection was made not by one person, but by an entire workshop, the features of a single style inevitably had to be clearly visible. However, not only is there not a single (!!!) repetition in the entire collection - the ceramic figurines are also made in different styles and with varying degrees of skill. There are very simple crafts, and there are literally real sculptural masterpieces - some dinosaur figurines have such a detailed surface that it even imitates the texture of the skin of ancient lizards.

Moreover, the figurines in the Dzhulsrud collection are made from different types of clay. There are products made from both local light clay and black clay from Oaxaca. But from Oaxaca to Acambaro only in a straight line there are more than half a thousand kilometers!.. Why would the counterfeiters of the mid-twentieth century (and peasants without cars) need to complicate their task so much by supplying clay from such a distance?!.

Thirdly, it was clearly established that the ceramics in the Dzhulsrud collection were processed using the open firing method. Its production would require a huge amount of wood, which in the arid region of Acámbaro was always extremely expensive. The work of the falsifiers would not only not pay off, but would also require expenses significantly greater than what Dzhulsrud spent on his collection. In addition, such a large-scale production of open-fired ceramics simply could not go unnoticed. Especially in such a small town...

For example. We arrived in Acambaro in the evening. By the time we checked into the hotel, it got dark. But since there was still plenty of time left before going to bed, we went to scout the road to the Dzhulsrud Museum so as not to waste time on this in the morning. It turned out that we were staying literally a few blocks away on one of the parallel streets. The museum was already closed, but we didn’t plan to go there that same day, so we turned around, satisfied, and went to the hotel...

When we entered the museum the next morning, its director, Miguel Huerta, was already waiting for us, who had been notified of our arrival in the evening (although we did not notify anyone in advance). And a little later, a representative of the municipality also showed up...

Well, how, under such conditions, was it possible to launch a full-scale production of clay figurines - and even with open firing - so that no one in the town would notice it?!

And then - in the 50s of the last century - Ramon Rivera, a professor at the Faculty of History of the Higher School in Acambaro, spent a whole month clarifying the question of the possibility of local production of the Julsrud collection. After numerous surveys of the population of Acambaro and the surrounding areas (Rivera especially carefully interviewed the elderly), the professor stated that over the past hundred years there had been nothing resembling large-scale ceramic production in this area.

By 1954, criticism of Julsrud's collection had reached its peak, forcing Mexican officials to intervene. A whole delegation of scientists arrived in Acambaro, led by the director of the Department of Pre-Spanish Monuments of the National Institute of Anthropology and History, Dr. Eduardo Nokvera. In addition to him, the group included three more anthropologists and historians. They themselves chose the site for control excavations on the slope of El Toro.

The work was carried out in the presence of many witnesses from local reputable citizens. After several hours of excavation, a large number of figurines similar to those that made up the Julsrud collection were found. According to the capital's archaeologists, examination of the found artifacts clearly indicated their antiquity. Everyone congratulated Dzhulsrud on his outstanding discovery, and two members of the delegation promised to publish the results of their trip in scientific journals.

However, then everything went according to the already well-established scenario: three weeks after returning to Mexico City, Dr. Nokwera presented a trip report, which claimed that the Julsrud collection was a falsification. And there was only one “justification” for such a conclusion: the collection contains figurines depicting dinosaurs. Instead of explaining the facts, they are discredited simply because they do not fit into the accepted theory. This cannot happen because it can never happen...

In 1955, the then quite young scientist Charles Hapgood, who was at that time a professor of history and anthropology at the University of New Hampshire, became interested in the collection. Hapgood made an agreement with the local police chief, Major Altimerino, whose house had stood directly in the discovery area since 1930, that is, almost a decade and a half before the first discovery of Julsrud. Having received permission from the owner, Hapgood opened the floor in one of the living rooms of the house and, at a depth of about two meters, discovered 43 figurines damaged to the state of fragments, which were similar in style to those in the Dzhulsrud collection.

The owner of the house himself, Major Altimarino, traveled around the area around Acambaro for three months and interviewed local residents about the possibility of modern production of the Julsrud collection. As a result, he became convinced that no one had any idea about anything like this.

In 1968, after the publication of his famous book Maps of the Sea Kings, Hapgood again visited Acambaro, accompanied by the famous writer Erle Stanley Gardner, who not only had a deep knowledge of forensic science, but also had a serious interest in archaeology. After examining Julsrud's collection, Gardner stated that from the point of view of forensic science, it cannot only be the result of the activity of one person, but also be a falsification performed by a group of people.

By the late 1960s, radiocarbon dating was already widely accepted in the archaeological world, and Hapgood sent several samples to an isotope research laboratory in New Jersey for analysis. Analysis of the samples gave the following results:

Specimen I-3842: age 3590+/-100 years (1640+/-100 BC)

Specimen I-4015: age 6480+/-170 years (4530+/-170 BC)

Specimen I-4031: age 3060+/-120 years (1100+/-120 BC)

Based on the results of his research, Hapgood published the book “The Secret of Acambaro” at his own expense, which was published in 1972.

In the same year, 1972, Arthur Young submitted two figurines to the Pennsylvania Museum for thermoluminescence analysis, which showed the date of their creation as 2700 BC. Dr. Raney, who conducted the research, wrote to Young that the dating error did not exceed 5-10%, and that each sample was tested 18 times. Accordingly, the authenticity of Dzhulsrud’s collection does not raise any doubts. However, when after some time Rainey learned that the collection included dinosaur figurines, he stated that the results he obtained were erroneous due to distortion of light signals during analysis, and the age of the samples did not exceed 30 years...

The principle “this cannot be, because it can never happen” worked again...

After this, interest in Dzhulsrud's collection gradually declined. Satisfied with the label “fake,” the scientific community simply ignored it. And for two and a half decades, everything was limited only to individual publications in popular periodicals (among which was the magazine “Technology for Youth”), which repeated the version of modern figurine production, based on a single thesis: man could not coexist with dinosaurs, and therefore the collection is of contemporary origin. Other options were not even considered...

However, the decline in interest in the collection was caused not only (and perhaps not so much) by critical statements addressed to it, but also by the death of Waldemar Julsrud in 1964, after which his collection remained ownerless. The collection was slowly taken away and given away, as a result of which about 10 thousand items were lost, mostly the largest and most exquisite ones. And now only one large dinosaur sculpture, one and a half meters long, remains in the museum (Fig. 199a). And that one was preserved, not in its entirety, but in the form of separate pieces. The rest can be generally judged only from rare surviving photographs.

Despite the losses incurred, the collection still represents an impressive collection - about two and a half tens of thousands of copies. The museum staff, led by its director, Miguel Huerta, over the course of four years were only able to carry out its initial inventory and sort the sculptures into stacked boxes (Fig. 199b). Miguel himself, telling us about the collection, said that he works at the museum every day, but still has not become fully familiar with it.

However, work continues. How the renovation of the museum premises is gradually moving towards completion, which will expand that part of the collection that is available for viewing by visitors and so far numbers only a few hundred copies...

Another surge of attention to Dzhulsrud’s collection occurred at the very end of the twentieth century.

In 1997, NBC aired a series of programs called “The Mysterious Origins of Humanity,” in which part of the material was devoted to the collection at Acámbaro. However, the authors of the cycle also adhered to the version of its recent origin, although they even sent a couple of samples for independent examination with the aim of radiocarbon dating them - a figurine of a man and a dinosaur. The anthropomorphic figurine was dated to 4000 BC, and the dinosaur figurine was dated slightly later - 1500 BC. However, that’s where it all ended: the authors of the program simply stated that the second date was erroneous...

Also in 1997, the Japanese corporation Nissi financed the trip of a film crew to Acambaro, which included a professional scientist, Dr. Herrejon. After reviewing the collection, Herrejon stated that the figurines depicting brontosaurs do not correspond to the appearance of actually known representatives of this class, since they have a number of dorsal plates.

Indeed, for a long time it was believed that stegosaurs had vertical plates on their backs, but not bronotosaurs and their closest relatives - diplodocus, which were always depicted with a smooth back. Moreover, a number of figurines in the Acambaro collection depicted these massive animals standing on their hind legs (Fig. 200), which was generally unthinkable for paleontologists, since it was believed that Bronothosaurus and Diplodocus were too clumsy and, due to their enormous weight, could stand on the hind legs couldn't.

Dr. Herrejon, apparently, was not aware of the latest findings of paleontologists, who discovered prints of the remains of these animals on subsequently hardened soil - triangular plates on the back were clearly visible on the prints. It’s just that these plates were not made of hard bone, but consisted of soft tissue and cartilage, so in many cases they decomposed without a trace over time. And five years before Herrejon’s visit to Acambaro, in 1992, in issue No. 12 of the journal Geology, paleontologist Stephen Zherkas published an article in which he first pointed out this feature of the anatomical structure of brontosaurs.

In addition, advanced computer programs, along with the latest data from biologists, have made it possible to simulate the behavior of diplodocus and brontosaurus. And then it turned out that the enormous weight did not at all prevent these animals from standing on their hind legs. Therefore, in popular science films created in recent years, these animals are depicted with triangular plates on their backs and standing on their hind legs in order to feast on fresh shoots on the treetops.

However, in the middle of the twentieth century, these facts were not yet known to paleontologists. Accordingly, such information could not even get into the books that were supposedly used by the falsifiers - the manufacturers of the Dzhulsrud collection...

Moreover, it turns out that the collection in Acambaro, in terms of the level of knowledge of the structural features and behavior of dinosaurs, ahead of modern paleontological knowledge!..

Among the numerous images of dinosaurs now on display in the museum, you can see species familiar to paleontologists and easily recognizable even to non-specialists. For example, there is a representative of sauropods - diplodocus; ichthyosaur; polycanthus (spiny dinosaur); Stegosaurus...

However, in the Dzhulsrud collection there are not so many sculptures that depict the species of ancient lizards known to us. Most of the figurines are completely unknown species of animals, which, from a paleontological point of view, are very difficult to identify. There are flying, swimming, crawling monsters, whose appearance causes considerable surprise. For example, winged lizards, which are much more similar to fairy-tale dragons than to well-known representatives of flying dinosaurs such as pterodactyls (Fig. 202).

The presence of similar images in Dzhulsrud’s collection gave rise to the version that the authors of the figurines first ate hallucinogenic mushrooms or cacti, and then embodied the images that came to them in this state in clay. However, the careful detailing of the sculptures and the obvious emphasis on the most characteristic features of specific dinosaurs is completely inconsistent with the version of the reproduction of hallucinations. And even more so, this version is contradicted by the presence of species that are easily recognizable and known to paleontologists. Just as the anticipation of the latest archaeological discoveries by Dzhulsrud’s collection contradicts it...

But then what do those figurines depict that are not recognized by paleontologists?... Just the imagination of artists?... Or unknown species of relict animals?

Paleontologists admit that modern science knows only no more than ten percent of the total number of dinosaur species that existed in ancient times. The remains of the vast majority of ancient dinosaurs have either not yet been found or have not been preserved at all. So it is absolutely possible that here we are dealing with unknown species of dinosaurs.

But in this case, if paleontologists put aside their preconceptions about the Acambaro collection, they would probably be able to draw a lot from it for their research. For example, in books on paleontology, arrow-shaped tail tips are present in only two or three species of dinosaurs, but in a collection of clay figurines such tails are very common. What can we say about the fact that it would be possible to significantly expand the list of species of ancient lizards, because the Dzhulsrud collection demonstrates a huge variety of such animals. And all of them are shown in motion, as if ancient artists sculpted them directly from life...

This naturalism of the images of dinosaurs in the collection gave rise to the version, which Julsrud himself adhered to, that the figurines were actually made from life. That is, ancient artists lived at the same time as dinosaurs. And if we proceed from the date of extinction of dinosaurs currently accepted in paleontology (about 65 million years ago), it turns out that people already existed in that period of time - many tens, or even a hundred million years ago!..

This fundamentally contradicts all modern ideas about the evolution of species on our planet. And it is quite natural that such a point of view is rejected by representatives of academic science. And accordingly, the authenticity of the Dzhulsrud collection itself is also rejected...

Moreover. Radiocarbon studies of the age of the figurines show that they were not made millions of years ago, but only thousands of years ago. And if we accept the results of these studies, then directly transferring them to the version of the coexistence of humans and dinosaurs leads to an even more radical conclusion: it turns out that just a few thousand years ago dinosaurs roamed the territory of Mexico and lived side by side with people...

Naturally, academic science categorically rejects such a conclusion. But it was readily embraced by representatives of the movement that believes that everything in reality happened as it is written in the Bible - the so-called creationists (from the English “creation”, which means “creation”, implying in this case creation by God). And they consider this collection one of the “proofs” of their point of view...

According to creationists, this is also supported by the fact that Julsrud’s collection is not limited to just people and dinosaurs. There are other extinct animals here. Including such species of relict mammals, which, according to the ideas of modern science, became extinct in America at the end of the Ice Age - approximately 12 thousand years ago (according to my version, not at the end of the “Ice Age”, which did not exist as such, but as a result of the events of the Flood).

Among such extinct mammals, the Acambaro collection includes, for example, a horse, a saber-toothed tiger and a giant sloth. There are other, very unusual species of mammals. And they, too, are adjacent to images of people and dinosaurs, from which they must be separated by tens of millions of years. How did this become possible? Is it really possible that here, on the territory of ancient Mexico, people, relict mammals and dinosaurs coexisted at the same time?... Creationists readily give a positive answer to this question...

However, how legitimate are such radical conclusions and such a direct transfer?..

The simplest option is not always the correct one. After all, in a modern paleontological museum you can see the remains and images of various inhabitants of our planet from completely different historical eras. And from the fact that all this is collected in one place, it does not at all follow that these different species lived at the same time.

Then why can’t what is considered obvious for a paleontological museum also apply to the Julsrud collection in Acámbaro?! In my opinion, there is absolutely no reason to deny this option. Moreover, the “paleontological museum” version, the “repository of knowledge” version, removes the problem of the relatively small age of the figurines - only a few thousand years old - without the need to assume the existence of dinosaurs in such a recent past...

And if this is so, if the Dzhulsrud collection represents a kind of “museum of paleontological knowledge,” then at least paleontologists could easily come to terms with the reality and authenticity of this collection. Reconcile and adopt.

It will be more difficult with historians. If the Julsrud collection represents a kind of “repository of knowledge,” then it becomes necessary to look for an answer to the question of where and how the Mesoamerican Indians acquired knowledge not only about relatively recently extinct animals, but also about dinosaurs that lived tens and hundreds of millions of years ago.

Somewhat earlier I already listed theoretically possible answers to this question.

Option one: man lived during the time of dinosaurs and, passing from generation to generation, retained knowledge about them. Option two: the Indians were engaged in paleontological research and had methods for dating finds and methods for reconstructing the external appearance of dinosaurs from their remains at the level of modern paleontology. Option three: the Indians received this knowledge from the outside - from some other, much more developed civilization.

None of these options is acceptable to representatives of official historical science. But it’s easier for us - we are deprived of academic frameworks and restrictions and can not engage in “sifting” facts, discarding “inconvenient” ones or declaring them “fake” only on the basis of inconsistency with these frameworks, but on the contrary: select the most consistent theory that explains these facts. So let's look at the three available options.

In my opinion, the most unlikely is the first option - man (or his distant, but already intelligent ancestor) lived tens and hundreds of millions of years ago at the same time as dinosaurs, somehow retained knowledge about them and conveyed it to the Indians who lived in Mexico just a few years ago. thousand years ago. Firstly, it is not clear why only to the Mexican Indians. Secondly, it is doubtful to retain such detailed knowledge over such a long period of time. And thirdly (and this is the most important thing), there are no serious grounds - at the level of facts - for revising the point of view of modern paleontology, according to which there is a huge period of time between the moment of the mass death of dinosaurs and the appearance of man.

A small clarification should be made here. The fact is that here and there messages periodically appear claiming to have discovered evidence of the simultaneous existence of humans and dinosaurs. This evidence can be divided into two categories: the first is the presence of dinosaur and human footprints in the same geological strata; the second is the discovery of nearby remains of humans and dinosaurs.

Despite all my close attention to all kinds of “historical anomalies” over the past many years, I have not been able to find any significant information on evidence belonging to the first category. Where it is claimed that there are supposedly human footprints next to dinosaur tracks, rather vague and dubious photographs are presented. Moreover, in these photographs the traces of a supposedly “person” actually allow for a very ambiguous interpretation, and it cannot be said clearly that these are traces of a person or his closest relative.

The situation is somewhat more complicated with evidence that falls into the second category: the discovery of nearby skeletal remains of humans and dinosaurs. The problem is that when bones are found, they are usually not left in the same place or position. In the vast majority of cases, discovered remains immediately disappear into the bins of some museums, institutes or private collections. Information about such finds is carefully suppressed and/or distorted. Therefore, there are no photographs of such finds in available sources, just as there are no details and nuances about the original position of the bone remains.

It seems to me that some of the reports about finds of this kind may well be reliable. However, even if they are real, they may still say nothing about the time of existence of man and dinosaur, much less about the single time of this existence. The fact is that both in the reports of such finds themselves, and in attempts to explain such a strange occurrence of the remains, the influence of such a global event as the Flood is absolutely not taken into account. During the Flood (see below), large areas were covered by a powerful tsunami. But a tsunami does not simply pass over the surface of the earth - it literally “grinds” the top layer of soil, tearing it off, mixing layer with layer, and lowers the contents raised somewhere in a completely different place. And the more powerful the tsunami, the stronger this “grinding” with a violation of the very stratigraphy of the layers, on which archaeologists and paleontologists largely rely in their dating.

Meanwhile, estimates of the size of the tsunami, for example, for South America give a wave height of several kilometers. Visible traces of a tsunami many kilometers high are also found even at a distance of hundreds of kilometers from the coast. It is quite obvious that under such conditions, dinosaur bones could very easily end up not only next to human bones, but also closer to the surface, and therefore be interpreted as “younger”...

But let’s return to our three theoretically possible options for the emergence of knowledge, reflected in Acambaro’s collection.

Option two - the Indians conducting large-scale paleontological research at the modern scientific level - also seems very doubtful. The Indians did not have methods for conducting such research. There is no trace of such research. There are no mentions even in legends and traditions (not to mention written texts) about anything similar to paleontological research.

So only the third option remains: the Indians receiving paleontological knowledge from somewhere outside.

It is clear that historians - representatives of academic science - cannot accept this option either. But we already have evidence of active activity on the territory of Mesoamerica by representatives of a certain highly technically developed civilization, just as we have among the Mayans and other tribes echoes of knowledge that appeared immediately in finished form and at a very high level - in astronomy, mathematics, writing, in the field of posthumous existence... So why not add knowledge in paleontology to the list of this strange knowledge?!

By the way, the version of the Acambaro collection as a kind of museum also explains another rather strange fact: among the images of people here you can see representatives of different races and nationalities. Let's say there are people who have a typical Middle Eastern beard with a curl (Fig. 207). There are also strange sculptures that more closely resemble the lids of the sarcophagi of Egyptian pharaohs. All this forms a strange, bizarre mixture of cultures, peoples and times...

When we talk about knowledge brought from outside, as a rule, the detail of the transfer process itself is omitted by default. We say: “they gave knowledge”... But how did they give?... What is meant by the word “gave”?... After all, this is not an object or a thing that is passed from hand to hand.

What would we do ourselves if we had the opportunity and need to transfer knowledge to someone in a condensed, concentrated form, trying to save time and effort spent on this, but at the same time get maximum results?... The simplest way is not to teach reading and writing and pass on books, and take a projector or computer and simply show a popular science film. Just show it!..

And it was not without reason that once at an evening discussion in Acambaro, Dmitry Pavlov expressed the idea that, they say, they gathered schoolchildren, showed a Spielberg film, gave clay in their hands and said: “sculpt, children”...

Of course, the quality of the figurines in Dzhulsrud’s collection is clearly higher than what the average modern schoolchild can make. Here, then, it makes sense to talk about something like an “art school” or “fine arts school,” where people (and not even children at all) who have certain abilities and inclinations in clay modeling study. But this doesn’t change the essence...

And then, by the way, some features of the images are quite clear. For example, the already mentioned emphasis on the significant and distinctive features of a particular animal: the texture of the skin, the plates on the back, the arrow-shaped tail, the long neck, the fangs of a saber-toothed tiger, and so on and so forth. This is exactly what an artist does when there is a need to create an easily identifiable image, not burdened by excessive detail - to emphasize several important, striking features. And it is primarily such features that are remembered - those that are striking. Especially when watching a Spielberg film or a scientific film on paleontology...

But in this case, you pay attention first of all to the details emphasized by the artist. For example, on six fingers, which are clearly specially drawn on some figurines. The Julsrud Museum exhibits a six-toed dinosaur (Fig. 208) and a six-toed monkey. Digging through the “bins” - the boxes in which the main collection is stored - we were lucky to discover a headless figurine of some hominid, also with six fingers (Fig. 209)!..

What is this?... An artist’s joke?... Or was he, like us, struck by the very fact of the presence of six, and not five, fingers on the paws and hands?... What kind of quirks of evolution are these then?... Or are we generally dealing here with an image of an inhabitant some completely different - “six-fingered” - world?!.

Unlike other places in Mexico that are on the tourist routes, we were traveling to Acambaro, essentially into complete unknown. We didn’t even know whether the Dzhulsrud Museum was even open now, or whether we would be able to see it. Information about this could not be found anywhere. There were also no preliminary contacts with the museum management. We rode - what is called - “for luck”...

And we were very lucky.

As mentioned at the beginning of the chapter, after our evening reconnaissance walk to the closed museum, in the morning Miguel Huerta, the director of the museum, was already waiting for us. He greeted us definitely with surprise and somewhat wary. Of course - a maximum of a few random visitors a day, and here at once a whole group from distant Russia (we were the first organized group from our country to visit the museum in Acambaro), and even made a specially long detour...

After some “sighting of each other” conversation, when it became clear that there was a certain commonality of approaches to ancient history and a common interest in the collection, Miguel, who turned out to be a very sociable and sociable person, and, among other things, passionate about the idea of ​​​​researching and popularizing the Dzhulsrud collection, met halfway at our request and allowed us to unwind the display cases and take out figurines from them for filming. Otherwise, we would have had a very difficult time: poor daylight and glare from the glass of shop windows created completely unbearable conditions for filming.

At first, Miguel himself unscrewed the mountings of the display cases, but gradually gave this part of the work to us, apparently making sure that we were not going to break anything and treated the exhibits very carefully. So we had complete freedom of action and the opportunity not only to contemplate the figurines, but also to pick them up, examine them from all sides and shoot the necessary angles. Where in any other museum would they allow us to do this?!.

And after we filmed the open exhibition of the museum, Miguel allowed us to get to the “bins”: the contents of the boxes with which his office was lined. We looked into just a few boxes, but this was enough to understand that there was still a lot of work to be done here (Fig. 210 and Fig. 211). You need to come here not for a couple of days at a glance, but to immerse yourself in a long and painstaking study of the contents of these boxes for several weeks or even months. And still, this will be only a superficial acquaintance with the Dzhulsrud collection...

While we were in the process of filming a museum exhibition and were engrossed in unwinding display cases, removing exhibits, photographing them and returning them to their place, a representative of the local municipality appeared. He watched us for quite a long time, listened to conversations and, after asking Miguel a few questions, disappeared as quietly as he had appeared...

After some time he appeared again. But no longer empty-handed. He brought several items from his personal collection - items that were found in the vicinity of Acambaro: a pair of whistles, a jade figurine of the god of fire (Fig. 213) and a small vessel that was made in the shape of a winged dinosaur (Fig. 212). The vessel was clearly made in a completely different manner than the figurines in the Dzhulsrud collection; the lizard was much more stylized, but the “dinosaur motif” was evident. Apparently, representatives of another ancient local culture either also had some echoes of knowledge about dinosaurs, or, like Julsrud, found similar figurines in the slopes of nearby hills.

Having demonstrated his skill in handling clay whistles, the collector gave those of us who decided to try ourselves in the role of ancient musicians the opportunity to practice extracting piercing sounds from these objects. And then other objects migrated into our hands, so that we had the opportunity to examine them from all sides. And then we discovered something that we had previously come across in only one place - in the Teotihuacan Museum, namely: a clear trace of a tubular drilling in the lower part of a jade figurine of the god of fire (Fig. 214)!.. The tubular drill that left this trace, had a strand diameter of 12–14 millimeters, and the width of the cutting edge of this drill was only one and a half millimeters!..

What kind of tubular drill was it?... What material was it made of?... When and by whom was the figurine made?... Alas, it is no longer possible to find out...

Be that as it may, the strength of the tubular drill was sufficient to process jade and leave such marks. There is a very high probability that metal was used as the material from which the tube was made. But what metal?... Copper is too soft for this. Bronze, of course, is harder than copper, but it is not very easy to process jade either. The Indians learned about iron only with the arrival of the Spaniards...

And by the way, they still had to somehow manage to make such a thin tube!.. Again, echoes of high technology in ancient times?!.

This figurine of the god of fire clearly did not look like a modern craft. And the collector, judging by his behavior, would hardly have boasted about it if it had been a simple remake souvenir. Our careful probing of the owner for the possibility of purchasing the figurine, as well as other items, only resulted in a categorical refusal to sell anything. Look - look, touch - feel, but these things are dear to me...

Although of all of us, only Galina Strelkova, who accompanied our group, spoke Spanish well, and Andrei Zhukov remembered something, communication with Miguel was quite lively. He turned out to be an extremely interesting conversationalist, and we invited him to dinner at a local restaurant. Since on our part there was clearly no idle interest in the collection, which was the subject of his concerns, Miguel did not have to be persuaded for long. He closed the museum and went with us, especially since the day was already ending.

The most skeptical of us, Dmitry Pavlov, at the table proclaimed something like: “Now, if you could find a dinosaur figurine right in the ground yourself... And if there was an opportunity next time to get permission to excavate...”

It turned out that Miguel already had such permission, and that he was absolutely not against giving us such an opportunity. Word for word - from the restaurant we went straight to the hardware store for entrenching tools...

In the morning, leaving the fair sex from the expedition at the hotel to sleep off the upcoming March 8th holiday, we went to El Toro Hill. We met the sunrise already on the hillside in the discovery area...

A significant part of us had never been involved in excavations, but Miguel was with us. This is the first thing. And secondly, Andrei Zhukov, a candidate of historical sciences, had professional experience in archaeological work. Plus, Dmitry Ogai, one of our operators, also often goes to archaeological excavations in Taman. Deciding that three professionals were enough for us, and that if something happened, there was someone to suggest, we dug into the slope...

Quite quickly, ceramics fell down: small fragments of vessels made by the local culture about one and a half thousand years ago. This was, of course, not what interested us, but it added a little excitement (Fig. 216)…

A few hours later, a brigade of either local police or representatives supervising the archaeological zone arrived, but Miguel, who approached them, apparently immediately cleared up all questions. Although one of those who arrived did come up to us and, having politely greeted everyone, looked around at our “loot” (by this time it amounted to several kilograms of shards, which in this area were of no archaeological value) and noted something on a piece of paper ...

In the half-day that we had at our disposal in accordance with the planned expedition route, of something more or less significant, we managed to find only a small torso of a human figure (Fig. 217). Alas, we were not lucky enough to find dinosaurs...

However, we didn’t really count on it. In a hurry, in just half a day, and on the very first try... We had little chance of luck. On the other hand, not to try your luck if there is such an opportunity - it would be simply stupid. And the expedition program received additional diversity...

One of the biggest mysteries of the Julsrud collection is the very limited and unique area of ​​the finds: the bulk is on the slope of the El Toro hill, and a small part is on the slope of another hill in the vicinity of Acambaro, the El Cibo hill. Nothing like this has been found not only in Mesoamerica in general, but even in the nearest populated areas. Why were figurines depicting dinosaurs and other extinct animals found and found only here?…

Two hills - El Toro and El Cibo - have been considered sacred by local residents since ancient times. Every year on the day of the spring equinox, tens of thousands of people come here from all over Mexico to take part in the festive ceremony of climbing to the top of the El Cibo hill. And the slope of El Toro, on which the Julsrud collection was found, faces precisely towards El Cibo...

And one of the versions is that local peoples from ancient times brought and buried clay figurines as gifts to the gods. Waldemar Julsrud himself, who collected the Acambaro collection, believed that all these objects were buried by the local population on the hillside before the conquest in order to protect the relics from the Spaniards. However, both of these versions do not explain why this took place only here...

Back in 1968, Charles Hapgood, during his research, re-opened one of the old excavations, where he discovered a series of slabs resembling a staircase going into the hillside. One of the local residents told him that at this excavation a tunnel had previously been discovered, covered with earth and leading into the depths. In addition, there were rumors in Acambaro that one of the local residents had discovered a cave in the slope of El Toro filled with figurines and other ancient objects. These data served as the basis for the assumption of the existence of an entire “underground city” in the depths of the El Toro hill.

American John Tierney, who studied Acambaro’s materials for almost forty years, is confident that the collection found by Julsrud is only part of a huge “library” accompanying someone’s tomb, which he believed was the main component of the El Toro monument...

Miguel, in a conversation with us, also mentioned stairs leading into the bowels of El Toro Hill. Moreover, we were talking about several such stairs at once. However, they were found, according to him, on privately owned plots of land (sometimes right under houses). Found and buried again...

The reason is simple: if representatives of the National Institute of Anthropology and History find out about such a staircase, the owner will immediately lose his house and land, which will become an archaeological zone...

So the ancient secrets of the hills of El Toro and El Cibo are still waiting in the wings...

Yuri Aleksandrovich Lebedev, head of the Everett Research Center, showed great interest in the Dzhulsrud collection and in the materials on this collection that we brought from the expedition. This center develops and continues the idea of ​​the American physicist Hugh Everett, from which it follows that physically the world in which we live is not the only world.

The term “parallel universes” or “parallel worlds” is well known to the general public. But few people know that behind these words there is a real physical theory and serious scientific justifications, which were first formulated in their entirety by Hugh Everett.

In order not to engage in retelling, which could lead to unnecessary distortions, I will quote here the words of Yu.A. Lebedev himself, which he said in his interview for the film “Unknown Mexico”, created based on the results of our expedition:

“I first heard about this collection, learned about it from the Internet and immediately from the very beginning I realized that this particular collection is very clear and strong evidence that Everett was right, because such a combination of impossibilities as we have in this case I I haven’t seen it almost anywhere else.

From the Everettian point of view, in this case we have an example of, as it seems to me, a completely typical gluing. Gluing is a phenomenon, to put it quite scientifically, the phenomenon of interaction between parallel branches, parallel worlds or different branches of the Everettian multiverse.

In fact, everyone is familiar with the phenomena of gluing. And we see them in everyday life much more often than we would like. Where is my glasses? There are no glasses. No glasses. Ah, here they are. But I was looking here!.. A minute ago I was looking at this table, they weren’t here - they appeared... How many little things we have gone missing, impossible combinations that we write off as bad memory, to some random circumstances, without thinking about it that this may be a consequence of very serious physical laws. Our perception, our life, our consciousness and perception of life are built in such a way that we do not pay attention to the gluing that surrounds us at every step.

Moreover, since our world is structured in an unimaginably complex way, the gluings themselves appear as unusually complex and unusual. As a rule, they look like a miracle...

But this is a miracle when, according to our ideas, impossible things came together in one place, at one point - people, dinosaurs, of various forms, in everyday communication, in obvious contact with each other. This is so incredible from the point of view of practical archaeology, history, science that, in my opinion, it cannot be anything other than Everettian gluing...

If gluing occurs, then it is logical to assume, so to speak, that the probabilities of close branches turn out to be overlapped, and we should have the effect of precisely the multiplicity of probabilities. And from this point of view, I suggest that specialists who will look at this material consider this collection in exactly this way - to identify in it some branches, each of which forms an integrity, but which do not combine with each other.

A very interesting question regarding the style of those objects that are included in the Dzhulsrud collection... One of the gluing options that lies on the surface is gluing with the times when people actually communicated with dinosaurs, and, so to speak, they reflected the surrounding reality in their creations. But it seems to me that although this element is present in this, as they say in science, quantum superposition that describes the Dzhulsrud collection as a whole, it is not the only one. And it seems to me that the very interesting components in this superposition are these gluings. Gluing together with those stories, with those realities in which these images, these sculptures, these objects were created not at the time of actual contacts between people and dinosaurs, relatively speaking, but much later. This is one of the elements of a culture that clearly had such events in the past, but which is already, well, let’s say, close to us in terms of technological levels. That is, this is one of the links with those realities in which historians do not doubt the existence of contacts between people and dinosaurs, where this is an ordinary, so to speak, historical fact, recognized. And these objects are already an artistic expression at a high artistic level of those events that, so to speak, are reflected by the sculptures themselves. That is, this is a gluing not with a civilization in contact with dinosaurs, but with a civilization remembering its real contacts with these dinosaurs.”

Academic science does not recognize the very fact of the existence of the Dzhulsrud collection, nor the consequences that follow from its contents. The collection was declared a modern falsification...

However, when Miguel and I discussed the possibility of exporting part of the collection to Russia for the purpose of organizing an exhibition, an interesting detail became clear: this requires permission... from the National Institute of Anthropology and History!..

Like this!..

The official institution - the center of historical science in Mexico, on the one hand, rejects the archaeological significance of the collection, and on the other, controls its movement precisely as an archaeological value...

Oh, times!.. Oh, morals!.. As a classic would exclaim...